Yes, "it" is enabled by the "double escapement action". It is not reliably feasible on an upright piano.

The double escapement action was developed by Sébastien Erard in the 1800's and is now ubiquitous among grand pianos. (Chopin exploited this innovation to its maximum. A perfect example is seen in his 10/7 etude; notice the pattern of double notes in the lower voice of the treble clef). Double escapement occurs when the jack is reset beneath the hammer as the key is partially released. This allows the note to be repeated quickly without the action parts returning to their original at-rest positions.

The double escapement action was developed by Sébastien Erard in the 1800's and is now ubiquitous among grand pianos. (Chopin exploited this innovation to its maximum. A perfect example is seen in his 10/7 etude; notice the pattern of double notes in the lower voice of the treble clef).

Yes, that's the effect of the double escape mechanism.

Regarding Chopin however: he preferred to play on Pleyel pianos (as opposite to Liszt e.g.). Pleyel pianos did NOT have the double escapement action that time. That means, it is at least questionable that Chopin eploited this innovation.
However, the Pleyel pianos did have a short keyway, and had a very light action in conjunction with light hammers. Maybe fast repetitions were possible too without that mechanism.
So Chopin e.g. preferred to use the same finger for key repetitions (in opposite to the useage of different fingers, e.g. 4-3-2-4-3-2 and so on), I think that was stated somewhere in the Eigeldinger book "Chopin as seen by his pupils".

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